“A man is creating what has been created
by the Great Creator. Only once we cognize
and discover something for others and
ourselves if it is permitted to us, of course”.
For Lubov Tiora the term “creative work” is too volumetric, multifaceted and global. For her it is one of the processes of spiritual growth, and not a simple transfer or reflection of a notion, real or perceptional. Undoubtedly, creativity is born thanks to specific vision and understanding of the world. L. Tiora felt, saw and became aware of the structural symbolism of her name, deciphered it and by modeling schematic symbols of sounds, she has identified the essence of her creative conception. This brought in the formula:
T – Creator Theo
I – Idea Idea
O – Revelation Oracle
R – Development Reform
A – Absolute Absolute
where the CREATOR (artist, musician or poet) implements (realizes) the IDEA purified by the flow of REVELATION falling on it from the highest spiritual substance.
Idea highlighted by the Revelation provides spiritual improvement or development of both the artist and the environment; then, it returns to the Absolute for a new turn of the idea evolution. Therefore, the artist gets an individual outlook relying on the cyclical five-unit spiral circular reaming of the own surname. Lubov Tiora is sure that the creative process provides an excellent chance for spiritual growth. The more sincere and open is the author, the more spiritual and energetic are his works.
The artist is unable to deceive the spectators more than himself. Any form of the work, be it the line, color, light, spatial and non-spatial depth, everything must be filled with the inner sense, probably intuition.
The artist strives to depict, create, and mainly, cognize the world that is not limited by the outer forms; structural and symbolic meaning is of particular importance.
The basic idea of the artist is to transfer all Creative Energy of the idea in its concentrated form by unwinding all the interiors of his capacity that with every person makes a Unity with the Highest Creator of the Universe. Creative work turns out to be the artistic and poetical form of revelation. One of the super-tasks of the author means to introduce the following notions into the world through the process of Creative Irradiation
DESIGN OF SPIRIT
DESIGN OF THOUGHT
DESIGN OF MICROCOSMOS
of every individual that determines the further fate of development of human civilization as completely disregarding regions.
The term “conceptual creative work” is integral. Somebody said that conception is the framework.
For Lubov the notion of conception means the ability to see and perceive the things, surroundings and events from several angles and in the same context at the same time; it is the ability to become aware and feel the essence, object or idea in time and space. Therefore, according to her vision one genre of art does not exclude presence of another one; on the contrary, it adds to and forms the hidden ideal and world outlook.
Graphics, painting, installation, plastics – all of them are the bearings of the uniform poetical and plastic composition, action or performance where the visual source makes up a permanent attribute of poetical and plastic expression. Installation genre is most close to the creative idea of the artist.
More than once, the spatial composition “Soul Moving among Ideas” has been displayed at different exhibitions of arts and raised vital interest in the spectators. It includes four components:
“Music of Rain”. These are stripes of white paper full of mysterious calligraphic signs and symbols descending from the heights. What is music of rain, and what is calligraphy? It is the impulse, the moment of the enlightenment. Thus, when calligraphers transfer the contents by abstracting the form, they are guided by the inner state. There is no need to try to understand, it is enough just to grasp the unknown by receiving impulses of something that cannot be explained in words but created by the artist’s hand.
“Word and Sound” – metal symbols making up the mysterious word reminding of the Arabic character. Under the blast of wind, signs touch each other and metal calligraphy produces the sound resembling tolling of Christian bells giving birth to vague associations of a single basis of the religions, synthesizing divine word and divine music.
“Poet’s Stick” bears the idea of longevity of words in the life of the people. The poet wandering around the world was writing poems, messages and signs on the stones. Who and what will live longer – word or stone? The poet left his stick as if offering the spectator to take it and go into the world carrying to the people the words that would outlive the time of any stone. The artist suggests thinking about civil responsibility anyone should account for his thoughts and words.
Graphic picture “Three Laws” – three bases of the Universe – crowns the composition. Signs make up the geometrical shapes of a triangle, circle and square. Structural basis of the material world has been laid into these three figures, where micro cosmos develops into micro universe. Every installation component has its own clear-cut spatial aiming. The artist’s idea implies that any individual appearing in the energetic field of the composition should feel positive energy coming to saturate him.
For Lubov Tiora painting, graphics and installations in some works seem just to merge. There is no search for a new style or manner, but there is the state and full subordination to it.
The result is that Creativity itself seems striving to produce a new source of energy, in which the energy of concept and Idea turns into the original source, i.e. the strive to turn the artistic work into an Altar and Icon of imaginary and structurally signed character.
Installation composition “Stairs into the Golden Age” may serve the vivid example of that. Its pictorial signed canvases, symbols on paper scrolls, hieroglyphic calligraphy on fabrics and stones, and poetical messages of the papyrus seem to emerge from the depth of the ancient Egyptian mysteries. Although L.Tiora has split the composition formally into three energetic units – out-temple, temple and in-temple – all three fields of creative expression, in their essence, are inseparable and make up to a high extent a spiritual-philosophic concept.
Out-temple complex is represented by five white parallelepipeds personifying the sight of Sphinx – the symbol of wisdom and mystery. There are many stones inscribed with signs on the four blocks of corner stones (front and back paws of the Sphinx). These are the images of different peoples that have brought their culture to build up the temple of the Golden Age determining ‘the time to collect stones’.
The central, fifth block, possesses the red stone – the ardent heart of the Sphinx cementing the composition. There is a scroll in front of it hinting at the curves of the river of knowledge. At the same time, it symbolizes transition.
Farther on the look is grasped by the second, temple part. Here is the so-called base stone blocking the entrance to the temple. It is covered with the white cloth bearing hieroglyphic symbols. ‘To look under the veil of secrecy’ – this is the definition with all the peoples touching anything hidden, undercover and esoteric. Over the base stone, we see the hanging signed scrolls gathered into rectangular composition embodying the top of the pyramid as the convergence place of all revelations. On the sides there are two vertical scrolls covered with the signs of world dualistic extremes balancing the temple complex.
In addition, finally, through the space between the base stone and the top of the pyramid we come to the inner part of the temple. Here on the wall resembling the stairs we see the signed painting leading to the central canvas representing a synthesized structure of the cultures of all peoples, the common mantra of the unified humankind.
Therefore, the above-mentioned installations undoubtedly influence upon a spectator with their deep resonant essence charged with the mesmerizing sincerity.
A series of graphic works “Art-cantata” by L.Tiora surprises with its depth and completion. The major object here is music as a purely abstract notion and most associative kind of arts. Artist’s conception lies in the visualization of the musical row into a structural-graphic composition where space, form and content synthesize to create a purely new environment (musical-spatial) to give birth to a specific state or encouragement of the creative impulse.
L.Tiora was the first among the artists of her generation to offer to the public judgment her version of “Avesta” interpreted by her through the prism of her world outlook vision of the essence of the surroundings. The artist’s cognition point of the ‘Avesta’ texts implies that endless struggle of contrasts was recognizes as the structural formula.
“Avesta” is the narration about the argument between God Acura-Mazda and his enemy Akhriman. It is the struggle of two primary reasons – Creator and Destroyer (as the base of almost all world religions is struggle between tow polar forces – virtue and evil). However, any destroying leads to creation; kindness cannot be perceived without closely standing evil, shadow always follows light etc.
Series of graphical and pictorial works named “Avesta” had a conceptual base. With all the complexity of images and richness of a single work, every graphic sheet is constraint to a strict composition scheme. Despite fragmentary, tiny developed elements, the works strike with their laconicism and completion. Such performance quite technically requires great mastery; however, there is the impression that the artist’s hand was guided by some outside force, so much impressive is the lightness of these works felt at the sub-consciousness level.
Synthesis is one of the fundamental principles of the creative process of L. Tiora. At the exhibition “Art-synthesis – 2002″ she presented two types of art syntheses – painting with photography and graphics with vital plastics. General motto of the exhibition “From live contemplation to abstract thinking” (the name has been proposed by L.Tiora) shifts the work of human consciousness from the external visual row to emerging interior images.
These are the first experiments of getting the ‘insight’, the original momentous irradiation in the process of dynamic installation. Structural composition ‘Four Spontaneous Forces and the Fifth Element’ makes up a remarkable example of the moving organization of graphical synthesis, vital plastics and music. Four women clothed in snow-white robes bearing graphic symbols on them performed a plastic dance-performance accompanied by the music. Without showing visual images of spontaneous forces in traditional colors: red – fire; blue – air; black – water and yellow – soil. The artist defined the white color as the basic, deep and single color for all forces; in our material life, this color decomposes into a spectrum in the light. Spontaneous forces are united in a supra-material plan, each of them possessing its own symbolic codes that separately reveal themselves in the substance. Transferring in the course of movement the white sphere with its graphical symbols personifying the infant human soul yet without anatomic signs to one another, “the spontaneous forces” on the stage by their second-by-second changing groupings and splits implement the formula of future origin of a human-being by creating energetic unit matrix of his future life before the eyes of the spectators. L. Tiora states, “In our approach to synthesis lies such a notion like an experiment that provides liberation of the “inner energy”. The world endlessly certifies new forms of existence and development, as well as man and humankind does. Emotions strengthen the attitude towards the secret world of a human-being”.
Graphic works by L.Tiora require a special angle of perception. It is the graphics with its peculiarities, opportunities for modeling lines and spots by the alteration and rhythmical contrasts that provided the artist with the impulse and power to carry out experiments with flat space. It is interesting to watch the ‘evolution’ of her graphical searches from semi-blurring, almost iconographic images (either saints or invisible observers trying to denounce something) to tough expressive almost mathematically adjusted design-pictures. Probably any, even slightly tangible stage of spiritual development and maturity of the artist is determined by the change of the complexity level of information visualization. In her attempt to depict the “other substance”, Lubov consciously and subconsciously highlights one element, i.e. the human eye. It turns into a symbol, creation of wisdom, and, from the point of view of the author of this article, presents that energetic source through which the eternity tries to start a dialogue with the present generation. This refers to the cycles “Cosmic Legends of the Orient” and “Universe Reasoning”.
Like any creative person, L. Tiora tries to comprehend, absorb and filter through herself the processes happening in this world. The flow of unusual creative ideas combined with modern technologies are giving birth to very interesting and original projects, like joint photo portraits with A. Shishov “The Canonized”, and a series of works called “Body-art”. For L.Tiora the creation moment enters the level of Enlightenment and Revelation. The Art turns to become temple-like, close to priestly culture.